2016 drama solo performance examination (pdf - 356.93kb)

Victorian Certificate of Education2016

DRAMA

Solo performance examination

Monday 3 October to Sunday 30 October 2016

© VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY 2016

2016 DRAMA – SOLO PERF EXAM 2

GUIDELINES FOR STUDENTS AND TEACHERS

Performance examination conditions1. The examination will be set and assessed by panels appointed by the VCAA.2. VCAA examination rules will apply. Details of these rules are published annually in the VCE and VCAL

Administrative Handbook.3. The performance examination venue is organised annually by the VCAA.4. The solo performance will be presented as a single uninterrupted performance and last not more than

seven minutes.5. If a performance exceeds the prescribed time limit, the student will be asked to stop. A timing device

will indicate when the seven minutes have elapsed.6. A total of 10 minutes per student will be allocated for preparation, performance and clearing the space.

No additional time is allowed. Students should be mindful of these time restrictions when preparing stagecraft for the solo performance.

7. The performance will use a single clearly lit space. No changes to the lighting grid are permitted.8. Only two chairs will be provided in the examination room for students to use in the performance, if they

wish. Any additional properties, if required, must be carried into the examination room by the student alone and within the allotted time.

9. In the examination room, the health and safety of both students and assessors is paramount. Students are advised that they must not endanger, or be seen to endanger, either themselves or others. Students are not permitted to bring into the examination room:• anyobjectsorsubstances(includingaerosols)deemedharmful,hazardousorillegal• actualorimitationweaponsofanydescription,includingswords,daggersandknivesofanytype• openflames,includingcandlesandmatches.

Students are nottouseanymaterials,objectsorsubstancesintheirperformancethatmaycause,orthatmaybedeemedtocause,injurytothemselvesorothers.

Insomecases,anobject,materialorsubstancethatmaybeconsideredsafebythestudentmay,intheactualperformance,beconsideredhazardous.Consequently,carefulthoughtmustbegiventotheselectionofpropertiesandsetitems.Studentsareadvisedthatiftheuseofanymaterial,objectorsubstanceisdeemedbyanyassessortobepotentiallydangerousorhazardous,thestudentwillnot be permittedtouseit.Thedecisionoftheassessorswillbefinal.

10. Studentsmustensurethatanyproperties,costumes(includingfootwear)orotheraspectsoftheirperformance do not, in any way, damage the performance space. Students are responsible for the cleaning up and removal of any materials they bring into the space for their examination, by the end of their allotted examination time.

11. Students will be allocated an examination room at the performance examination venue in which they will undertake their examination. Students and their teachers are not permitted to request a change of room.

12. Only the panel of assessors and any personnel authorised by the VCAA will be permitted in the examination room with the student during the examination.

13. Students may choose to perform to the assessors as audience, to an imagined audience, or both.14. Students must not walk behind and/or touch and/or approach the assessors during the examination.15. Theassessors’tableisforassessmentpurposesonly.Studentsarenottoplaceobjectsontheassessors’

table or use the table in any way as part of their performance.

3 2016 DRAMA – SOLO PERF EXAM

Statement of Intention1. A Statement of Intention form is published on page 20.2. Immediately prior to their performance, students are required to present three copies of the Statement

of Intention to the panel of assessors. The statement should not exceed 100 words.3. The purpose of the Statement of Intention is to highlight aspects of the student’s interpretation that they

would like to bring to the assessors’ attention. This may include:• anexplanation/clarificationofdecisionsmadeinthestudent’sinterpretationoftheprescribed

structure• reasonsforchoicesmade(forexample,fortheuseofcostume,properties,accent,symbol)• whereandhowaspecificconvention,elementordotpointisdemonstratedintheperformance.

4. Students should not simply describe their character by rewriting the performance focus.5. The Statement of Intention will not be assessed.


Advice1. Students are required to prepare a solo performance using one of the following 10 prescribed structures.

Marks will not be awarded for performances that do not use one of the prescribed structures.2. Each prescribed structure is composed of the following: character, stimulus, performance focus,

performance style, convention, dramatic element and reference material. The following explanations should be used when preparing the solo performance:• Character – the main character to be depicted in the performance• Stimulus – the source of information that must be used in the development of the character and

must be evident throughout the performance• Performance focus – information that provides a context for the character Studentsarerequiredtopresentthisinformationintheirperformance,incorporatingthespecific

detailsthatareidentifiedinthethreedotpointsandintheopeningsentences. The three dot points (DP)

– DP1 begins with the word recreating and requires students to present material that is researched directly from the stimulus.

– DP2 begins with the word creating and requires students to invent material that might or could have happened.

– DP3 requires students to move beyond the stimulus and to respond to the scenario outlined using imagination and creativity.

In DP1, DP2 and DP3, when ‘moments’ or ‘examples’ are referred to, students can choose from scenes, dramatic images, montages and vignettes in the realisation of their solo performance.

The opening sentences– provide background to the character– indicate where and/or when the performance takes place– establish the audience– provide insight into the emotional state or motivation of the character.

All aspects of the performance focus must be included in the performance. Each aspect of the performance focus does not have to be given equal emphasis during the

performance. Unless otherwise indicated, aspects of the performance focus may be performed in any order.• Performance style – All performance styles referred to in this examination are examples of

non-naturalism.Insomestructures,aspecificstyleisprescribed.Performancestylesareexplainedin the ‘Terminology’ section of the examination materials and on each prescribed structure where an additionalstyleislisted.Theprescribedstyle(s)mustbeusedthroughouttheperformance.Wherefeatures are listed for a particular non-naturalistic style, students can use some or all of the features listed, as appropriate to their performance.

• Convention – The following conventions will be assessed in all performances: transformation ofcharacter,time,placeandobject.Inaddition,oneconventionwillbespecificallyprescribedforeach character and it must be used during the performance. Other conventions may be added as appropriate.

• Dramatic element – One dramatic element will be prescribed for each character and it must be used during the performance. The dramatic element to be prescribed will be selected from the following list:climax,conflict,contrast,mood,rhythm,sound,space,symbolandtension.Studentsmayuseadditional elements as appropriate.

• Reference material–Studentsshouldundertakeresearchwhendevelopingtheircharacter(s)forperformance. Resources are provided as recommendations; this list is not exhaustive.

Note: If a resource is also listed under Stimulus, it must be used in the development of the character and as mandated in DP1. The resource must be evident throughout the performance.

3. The emphasis in performance must be on action rather than narration; ‘doing’ rather than ‘telling’. For additional advice, refer to last year’s Examination Report.

4. A ‘Terminology’ section is provided. Students should consult this for explanations of performance styles andconventions,asprescribedintheexamination.Whereanadditionalperformancestyleislisted,adefinitionisincludedinboththeprescribedstructureandinthe‘Terminology’sectionoftheexamination.


Notes for VCE Drama solo performance examination1. WhiletheVCAAconsidersalltheprescribedstructuressuitableforstudy,teachersshouldbeaware

that, in some instances, sensitivity might be needed where particular issues or themes are explored. To provide appropriate advice to students, teachers should ensure that they are aware of the issues and themes that are contained in the structures prior to the commencement of Unit 4.

2. Schools should check the local availability of required stimulus materials and resources prior to beginning Unit 4. Some materials may not be immediately available.

3. Studentsandteachersshouldbeawarethatwebsites,includingWikipedia,maycontaininformationthathas been altered since the publication of the examination materials.

4. It is the VCAA that provides the advice and requirements of the solo performance examination. Students are advised to refer to the examination throughout the development of their solo performance. Caution should be exercised when using information on social media or blogs.

5. Reading from a script does not constitute a performance and will be considered off-task.6. Whereapluralisused,twoormoremoments/examplesmustbeevidentunlessaspecificnumberis

stated.7. A moment/example can be represented as a scene, dramatic image, montage or vignette, or

combinations of each.8. For additional advice, students are advised to refer to last year’s Examination Report.9. Students and teachers are reminded that, in addition to the one convention prescribed in each structure,

transformation of character, time, place and object must be demonstrated in every solo performance.10. Whenmakingsoloperformancechoices,allcharactersmustbeportrayedinthegenderidentifiedinthe

prescribed structure.11. All enquiries regarding the prescribed structures should be forwarded to Helen Champion, Curriculum

Manager <[email protected]>.12. AllotherenquiriesshouldbeforwardedtoGlennMartin,ProjectManager,Assessment

<[email protected]>.


PRESCRIBED STRUCTURE 1

CharacterArachne

StimulusThe poem ‘Arachne’ by Ted Hughes

Performance focusCreate a solo performance based on the character of Arachne.Atthe2016AnnualMelbourneWeave-off,aremorsefulArachneunexpectedlyappearstotheshockandbewilderment of the audience. She challenges the reigning champion, Minerva, in the hope that the goddess might change her back to her human form. She does this by:• recreatingmomentsfromtheirfirsttapestrybattleanditsconsequences• creatingoneofthedivinestoriesrepresentedinhertapestry• creatingaparallelwitharealpersonofanyerawhohascommittedthesinofhubris.

Performance styleNon-naturalistic*

ConventionHeightened use of movement and language

Dramatic elementConflict

Reference materialThe poem ‘Arachne’ by Ted Hughes in the collection Tales from Ovid, 1997, or any other publication of ‘Arachne’ by Ted Hugheswww.greekmythology.com/http://myths.e2bn.org/mythsandlegends/textonly131-arachne-the-spinner.html

*Non-naturalisticNon-naturalism is a broad term for all performance styles that are not dependent on a life-like representationofeverydaylife.ItisbasedontheworkofAntoninArtaud(TheatreofCruelty),BertoltBrecht(EpicTheatre)andJerzyGrotowski(PoorTheatre).Non-naturalismcanallowanactortoexploreand present ideas or stories conceptually.Non-naturalism does not seek to recreate life as it is lived, but is focused more on passing comment on, or responding to, aspects of the real world. Non-naturalistic performance can occur in any space and is notdependentonspecificresources.Non-naturalisticperformanceworkmightincludethemanipulationof both naturalistic and non-naturalistic conventions.Anon-naturalisticperformancemaybedefinedbythenon-naturalistic:• useofstagecraft• actingstyleoftheperformers• useofdramaticelements• useofconventions,includingtransformationofcharacterand/ortimeand/orplaceand/orobject.



CharacterLouisdeRougemont(akaHenriLouisGrin)

StimulusThe novel The Adventures of Louis de Rougement, Chapters 1–5 – http://publicdomainreview.org/collections/the-adventures-of-louis-de-rougemont-1899/

Performance focusCreateasoloperformancebasedonthepersonLouisdeRougemont(akaHenriLouisGrin).In1898,acharmingandflamboyantLouisdeRougemontmeetswithascepticaljournalistfromThe Daily Chronicleinanattempttoshowhimthat,intruth,heisalarger-than-lifefigureratherthanaliarandafraud.He does this by:• recreatingmomentsfromhislifethathighlightthecircumstancesofhisshipwreckandsubsequent

survivalinthebushofnorthernWesternAustralia• creatinganotheradventureinwhichhewasinvolvedthatappearsbeyondbelief• creatinganexampleofhowanurbanmythevolvingafter1898willleadtomisunderstandingsaboutlife

in Australia.

Performance styleNon-naturalistic with aspects of vaudeville*

ConventionCaricature

Dramatic elementRhythm

Reference materialhttp://publicdomainreview.org/collections/the-adventures-of-louis-de-rougemont-1899/https://en.wikipedia.org/wiki/Australian_folklorehttps://en.wikipedia.org/wiki/Louis_de_Rougemont

*VaudevilleVaudeville is a form and style of theatre entertainment that was popular with the lower classes from the 1880suntilthe1930s.Itwasreferredtoas‘musichall’inBritainandconsistedofavarietyofbriefactsthat were introduced by a master of ceremonies. The acts could include:• illustratedsong,dance,activestorytelling• comedy,slapstick,repartee,clowning• exaggeratedacting,acrobatics.



CharacterPa Ubu or Ma Ubu

StimulusTheplay‘UbuRoi’byAlfredJarry

Performance focusCreate a solo performance based on the character of either Pa Ubu or Ma Ubu.FollowingthePolishcampaign,PaUbuorMaUbumeetwithcloseadvisorsintheWarCabinet.Thegrotesque Pa Ubu or Ma Ubu unveils his/her absurd vision to invade Australia and re-establish it as a penal colony for the world’s unwanted. He/she does this by:• recreatingkeymomentsfromtheplaythathighlighthis/herapproachtomaintainingpower• creatingmomentsthatdemonstratehis/herstrategiesfortheAustralianinvasionanddevelopmentofthe

penal colony• creatingaparalleltoarealpoliticalleader,pastorpresent,whoisconsideredcorrupt.

Performance styleNon-naturalistic with aspects of surrealism*

ConventionPuppetry

Dramatic elementSound

Reference materialTheplay‘UbuRoi’byAlfredJarry,1896(anytranslation)‘Greatsurrealismperformance’–www.youtube.com/watch?v=A-8U5GJUMNI‘HandspanTheatredocumentary’–www.youtube.com/watch?v=GBFssHPJ48A

*SurrealismSurrealism is an avant-garde arts and theatre movement associated with the early 20th century. It is exemplifiedby:• dramaticstructuresthatfeatureelementsofsurpriseorunexpectedjuxtapositions• use of unnerving and/or seemingly illogical scenes or dialogue and dream-like imagery• strong use of symbols, properties, costume, make-up• use of fantastic and/or grotesque characters.



CharacterOiwa(TheOnryōorVengefulGhost)

StimulusThestory‘YotsuyaKaidan’–http://seeksghosts.blogspot.com.au/2012/03/traditional-japanese-ghost-story-oiwa.html?_sm_au=isVZpHJQL55SPQNs

Performance focusCreate a solo performance based on the character of Oiwa.An angry and vengeful Oiwa appears before a company of actors prior to their new theatrical production Yotsuya Kaidan. She berates them for having failed to complete the obligatory homage at her shrine and curses the production. She does this by: • recreatingmomentsfromthestorythatshowhowshebecameaghost• creatinganexampleofwhatwillhappentotheproductionifthecompanydoesnotatoneforitslackof

respect• creatingmomentsthatexplorehowwhathasfrightenedpeoplehaschangedovertime.

Performance styleNon-naturalisticwithaspectsofJapanesehorror*

ConventionExaggerated movement

Dramatic elementSymbol

Reference materialhttp://seeksghosts.blogspot.com.au/2012/03/traditional-japanese-ghost-story-oiwa.html?_sm_au=isVZpHJQL55SPQNs‘MysteryofJapaneseGhostYurei!GhostCaughtonTapeinJapan!!’–www.youtube.com/watch?v=oVDP1LeD5Tchttps://en.wikipedia.org/wiki/Yotsuya_Kaidan

*Japanese horrorJapanesehorrorisaliteraryandtheatricalform(whichcanbetracedbacktotheTokugawa[Edo]period)thattellsstoriesofrevengeandghostlyappearances.Itisexemplifiedby:• plots that often explore the psychological aspects of horror and fear• strong visual and theatrical imagery created through the use of costume, make-up, properties• use of suspense, stillness and silence• the appearance of a ghost.



CharacterTheBoardGameCharacter

Stimulushttps://en.wikipedia.org/wiki/Monopoly_(game)

Performance focusCreateasoloperformancebasedonthecharacteroftheBoardGameCharacter.Inresponsetocallsforabanongamesthatpromotewinningandlosing,executivesattheBoardGameCompany announce that their most popular property market board game will cease production. An agitated BoardGameCharacterappearsbeforethemandemphaticallyinsiststhatcompetitionisessentialforaproductive society. He/she does this by:• recreatingmomentsthatdemonstratehowtheboardgame’shistoryand/ortheboardgameteachstrategies

for success• creatingavisionofwhattheboardgamecouldlooklikein2035• creating an example of how a real monopoly can drive progress.

Performance styleNon-naturalistic with aspects of Epic Theatre*

ConventionActor as chorus

Dramatic elementSpace

Reference materialhttps://en.wikipedia.org/wiki/Monopoly_(game)www.wsj.com/articles/peter-thiel-competition-is-for-losers-1410535536https://ministryoffear.wordpress.com/2009/01/28/10-greatest-monopolies/

*Epic TheatreSometimescalledBrechtiantheatre,EpicTheatreisastyleoftheatrethatseekstotellastory,oftenona large historical scale, and including a number of people and events over time. It aims to engage the intellectratherthanemotionsandoftenusesdevicesthatalienatetheaudience.Itisexemplifiedby:• directaddressand/ortheuseofnarrationandsong• useofsigns• useofmaskandmovement• creationofalargerangeofcharacters,oftentransformedusingminimalcostumeorproperties• stylisedgestureandmovement• deliberateandconsciouschoicesintendedtoremindtheaudiencethattheyarewatchingaplay.



CharacterThe Thief

Stimulushttp://homepage.eircom.net/~seanjmurphy/irhismys/jewels.htm

Performance focusCreate a solo performance based on the character of the Thief.At the 1957 graduation ceremony of the Irish Rogues Academy, the Thief, now a teacher at the Academy, overhears his/her students boast about how famous they will be. The Thief reluctantly reveals his/her participationinthetheftoftheIrishCrownJewelsin1907inordertoprovethatthieveryismoreaboutfortune than fame.He/she does this by:• recreatingkeymomentsoftheIrishCrownJewelsheist,includinghis/herparticipationinit• creatingexamplesofhowtheThiefhaseludeddetectionforthepast50yearsandwhathe/shedidwith

theIrishCrownJewels• creatingaparallelwithafamousfictionalthief.


ConventionMime

Dramatic elementTension

Reference materialhttp://homepage.eircom.net/~seanjmurphy/irhismys/jewels.htmwww.pastemagazine.com/blogs/lists/2013/04/the-best-heist-movies.html




CharacterNadia(Nadezhda)Popova

StimulusThepodcast‘TheNightWitches’–www.missedinhistory.com/podcasts/the-night-witches/

Performance focusCreate a solo performance based on the person Nadia Popova.In1944,whilementoringanewregimentofnaivewomenpilotswhohavejustjoinedtheSovietarmy,thenow war-weary Nadia attempts to dispel their idealistic vision of war. She warns them about the gruelling nature of the task ahead.She does this by:• recreatingarangeofexperiencesshehadasaNightWitchduringWorldWarII• creatingexamplesofalternativerolesshecouldhavechosentosupportthewareffort• creatinganexample(s)ofhow,afterthewar,womenwilladjusttopeacetimeand/orcontributeto

post-war reconstruction.

Performance styleNon-naturalistic with aspects of physical theatre*

ConventionStillness and silence

Dramatic elementMood

Reference materialwww.missedinhistory.com/podcasts/the-night-witches/ https://en.wikipedia.org/wiki/Night_Witches

*Physical theatrePhysical theatre is a style of performance that pursues storytelling through physical means. The primary focus is on the physical work of the actor through the use of the body. It is a highly visual form of theatre.Itisexemplifiedby:• useofmime• useofacrobatics/circusskills• commediadell’arte• visualtheatre• useofdance.



CharacterArbiter Maven

StimulusThe television series This is Jinsy–Season1(2011)

Performance focusCreate a solo performance based on the character of Arbiter Maven.WhileinthetowerlookingoutoverthebeautifullandscapeofJinsy,thebombasticArbiterMavencomplainsto Sporal and Soosan about the lack of tourists. He proposes a radical new publicity campaign to lure people intovisitingJinsy.He does this by:• recreatingmomentsoflifeonJinsythat,accordingtoArbiterMaven,makeitaninterestingplacetovisit• creatingatelevisionadvertisementforthecampaigntopromotehimself• comparingtwoormoreweirdandwonderfultouristattractionsoftheworldwiththesightsofJinsy.

Performance styleNon-naturalistic with aspects of comedy*

ConventionSong

Dramatic elementContrast

Reference materialThis is Jinsy–Season1(2011)www.jinsy.com/?m=1www.readersdigest.ca/travel/world/worlds-strangest-tourist-attractions/

*ComedyComedy is a performance style that is associated with amusement, fun and humour, and is intended to entertain,delightorinvokelaughter.Itisexemplifiedby:• charactersorsituationsthatareoftensilly,ludicrousorabsurd• useofwords,jokesorstoriesthathaveapunchline• useofparody,caricature,visualorphysicalgagsandothercomedicstyles• useofreferencestocurrentevents,famouspeopleorpoliticians• useofcostumeorpropertiestoenhancecomedy.



CharacterThe Matchmaker

Stimulus The song ‘Matchmaker, Matchmaker’ from the musical Fiddler on the RoofbyJerryBock,SheldonHarnickandJosephStein

Performance focusCreate a solo performance based on the character of the Matchmaker.Intending to prey on the vulnerabilities of those looking for love, the opportunistic Matchmaker welcomes a group of desperate and dateless to the 2016 Singles Soiree. The Matchmaker unveils his/her fail-proof dating websiteandpromisestofindthemeverlastinglove–forasmallfee.He/she does this by:• recreatingsomeofthequalitiesvariouspeopleseekintheirperfectmatch• creatingmomentsthatshowhowthewayspeoplemeetalifepartner,includingtheroleofthe

matchmaker, have changed over time• creatingthreeormoreexamplesofhowfamouslovers,fictionalornon-fictional,gotitwrong.


ConventionSatire

Dramatic elementClimax

Reference material‘Matchmaker, Matchmaker’ from the musical Fiddler on the RoofbyJerryBock,SheldonHarnickandJosephStein,1964‘Top10MostRomanticcouplesinhistory’–www.youtube.com/watch?v=H9VDCzCqvvQhttps://en.wikipedia.org/wiki/Matchmaking




CharacterLiberty

Stimulushttps://en.wikipedia.org/wiki/Statue_of_Liberty

Performance focusCreate a solo performance based on the Statue of Liberty.Following a family emergency, Liberty’s sisters, Equality and Fraternity, appear before her pleading that she return home to France. An overworked Liberty despairs over why it is now more important than ever for her to remain in the United States of America. She does this by:• recreatingkeyexamplesthatdemonstratehowshehasbeenusedtorepresenttheideaofAmericanliberty

since her conception in 1870• creatingtwoormoreexamplesofhowlibertyhasbeensymbolisedindifferentcountriesandcultures• creatingamomentfromasituation,inacountryotherthantheUnitedStatesofAmerica,wherelibertyis

needed in 2016.


ConventionPathos

Dramatic elementSymbol

Reference materialhttps://en.wikipedia.org/wiki/Statue_of_Liberty https://en.wikipedia.org/wiki/Liberty www.cfr.org/global/global-conflict-tracker/p32137#!/



TERMINOLOGYThe explanations listed below provide direction for teachers and students in the development of the VCE Drama solo performance examination. This information should be read with pages 10–12 of the VCE Drama Study Design 2014–2018.

Non-naturalisticNon-naturalism is a broad term for all performance styles that are not dependent on a life-like representation ofeverydaylife.ItisbasedontheworkofAntoninArtaud(TheatreofCruelty),BertoltBrecht(EpicTheatre)andJerzyGrotowski(PoorTheatre).Non-naturalismcanallowanactortoexploreandpresentideasorstories conceptually.Non-naturalism does not seek to recreate life as it is lived, but is focused more on passing comment on, or responding to, aspects of the real world. Non-naturalistic performance can occur in any space and is not dependentonspecificresources.Non-naturalisticperformanceworkmightincludethemanipulationofbothnaturalistic and non-naturalistic conventions.Anon-naturalisticperformancemaybedefinedbythenon-naturalistic:• useofstagecraft• actingstyleoftheperformers• useofdramaticelements• useofconventions,includingtransformationofcharacterand/ortimeand/orplaceand/orobject.

CreateTo create is to enact for an audience situations and conversations that may be informed by material other than the stimulus, such as reference material. The emphasis in the performance must be on action rather than narration; ‘doing’ rather than ‘telling’.

RecreateTo recreate is to re-enact situations and conversations that are informed by the stimulus. The emphasis in the recreation must be on action rather than narration; ‘doing’ rather than ‘telling’.

Actor as chorusActoraschorusiswhereasingleactorfulfilsthedramaticpurposeofachorusandoftenstandsoutsidetheaction of a scene or moment/example. The actor can do this by:• commentingonthebackgroundofamoment/example• makingstatementsorprovidingfactsthatencouragetheaudiencetoviewthemoment/examplefromthe

perspective of the real world• arguingwithacharacterabouttheirdecisionsorbeliefs.

To do so, an actor as chorus may use heightened movement and language.

CaricatureCaricature is an exaggeration of a character that is often ludicrous or grotesque. It can be comic, at times derogatory, with the intention to ridicule.

ClimaxClimaxreferstothemostsignificantmomentoftensionorconflictinadrama,oftenoccurringtowardsthe end of the plot. Multiple climaxes and/or an anticlimax can also occur. The action of a drama usually unravelsaftertheclimaxhastranspired,buttheworkmightfinishwithaclimacticmoment.


ComedyComedy is a performance style that is associated with amusement, fun and humour, and is intended to entertain,delightorinvokelaughter.Itisexemplifiedby:• charactersorsituationsthatareoftensilly,ludicrousorabsurd• useofwords,jokesorstoriesthathaveapunchline• useofparody,caricature,visualorphysicalgagsandothercomedicstyles• useofreferencestocurrentevents,famouspeopleorpoliticians• useofcostumeorpropertiestoenhancecomedy.

ConflictConflictgenerallyoccurswhenacharactercannotachieveanobjectiveduetoanobstacle.Thisobstaclemaybeinternalorexternal–betweencharactersorbetweencharactersandtheirenvironment.Conflictcanbeshowninavarietyofways,forexamplethroughphysical,verbalorpsychologicalmeans.Conflictcanbeembedded in the structure of the drama.

ContrastContrast presents the dissimilar or the opposite in order to highlight or emphasise difference. Contrast can be explored in many ways, and can include contrasting characters, settings, times, themes, elements, stagecraft and performance styles.

Epic TheatreSometimescalledBrechtiantheatre,EpicTheatreisastyleoftheatrethatseekstotellastory,oftenonalarge historical scale, and including a number of people and events over time. It aims to engage the intellect ratherthanemotionsandoftenusesdevicesthatalienatetheaudience.Itisexemplifiedby:• directaddressand/ortheuseofnarrationandsong• useofsigns• useofmaskandmovement• creationofalargerangeofcharacters,oftentransformedusingminimalcostumeorproperties• stylisedgestureandmovement• deliberateandconsciouschoicesintendedtoremindtheaudiencethattheyarewatchingaplay.

Exaggerated movementExaggerated movement includes action that is overstated or drawn larger than life; often for the purpose of ridicule.

Heightened use of movement and languageHeightened use of movement and language is the simultaneous use of poetic and stylised language and movement. It includes exaggerated and rhythmic movement and gestures, combined with the choice and expression of words and phrases whose vowel and consonant sounds, and their cadence, enhance the dramaticstatement.Itiscloselyassociatedwithfigurativedramatictechniquessuchasimagery,symbol,metaphor and analogy.

Japanese horrorJapanesehorrorisaliteraryandtheatricalform(whichcanbetracedbacktotheTokugawa[Edo]period)thattellsstoriesofrevengeandghostlyappearances.Itisexemplifiedby:• plots that often explore the psychological aspects of horror and fear• strong visual and theatrical imagery created through the use of costume, make-up, properties• use of suspense, stillness and silence• the appearance of a ghost.


MimeMime is a technique by which an actor suggests action, character, space or emotion without words, using only gesture, movement and expression.

MoodMood is the overall feeling or emotion that a performance can evoke. This may be achieved through manipulation of acting, conventions or stagecraft.

PathosPathos is a quality that evokes a feeling of sympathy, pity or sadness in the audience; for example, the power of stirring tender or melancholic emotion. Pathos may be associated with comedy and/or tragedy.

Physical theatrePhysical theatre is a style of performance that pursues storytelling through physical means. The primary focus is on the physical work of the actor through the use of the body. It is a highly visual form of theatre. Itisexemplifiedby:• useofmime• useofacrobatics/circusskills• commediadell’arte• visualtheatre• useofdance.

PuppetryPuppetryistheuseofaninanimateobject,representationalfigureormoveablemodelanimatedormovedbyan actor or puppeteer.

RhythmRhythm is a regular pattern of sounds, words or actions. Performances can also have their own rhythm that canbeinfluencedbytheemotionalnatureoftheplot,thepaceoflinedelivery,thepaceofscenetransitions,and the length of those scenes and the dialogue within them.

SatireSatire refers to the use of wit and comedy to attack, denounce or deride a target. It exposes or questions the presence of vice, folly, abuse or pretence. It can be achieved through the manipulation of language, caricature, parody, parable or other comedic theatrical conventions. The satirist laughs at, punishes or questions a target and/or an audience. The target may be an individual or a system.

SongSong is a musical interpretation of text using an actor’s own voice at the time of performance (notpre-recorded).

SoundSoundiscreatedbyaperformerthroughthepossibleuseofvoice,bodypercussionandobjectstocreateaneffect in performance and enhance meaning. Sound may include silence or the deliberate absence of sound.

SpaceSpaceinvolvesthewayanactor(s)usestheperformanceareatocommunicatemeaning,todefinesettings,torepresent status and to create actor–audience relationships. This may be achieved through the use of levels, proximity and depth. The use of space may be symbolic.


Stillness and silenceStillness and silence are to be found where there is an absence of sound and an absence of movement. This technique is used to enhance dramatic effect.

SurrealismSurrealism is an avant-garde arts and theatre movement associated with the early 20th century. It is exemplifiedby:• dramaticstructuresthatfeatureelementsofsurpriseorunexpectedjuxtapositions• use of unnerving and/or seemingly illogical scenes or dialogue and dream-like imagery• strong use of symbols, properties, costume, make-up• use of fantastic and/or grotesque characters.

SymbolSymbol is used to create meaning that is not literal. Symbol allows performers to communicate ideas and themes through words, stagecraft and expressive skills.

TensionTension is the suspense that holds an audience’s attention as a performance unfolds. The release of tension can have a comic or dramatic effect.

Transformation of characterAn actor manipulates expressive skills to create characters in performance. A change in character, therefore, requiresmodificationofthefocusandmannerofuseofexpressiveskillsbytheactor.Additionsofmaskor costume may enhance the character transformation, but this does not constitute transformation unless accompanied by communicable changes in the use of expressive skills.

Transformation of objectThisoccurswhenanobject(s)isendowedwithavarietyofmeaningsbyanactor.

Transformation of placeAn actor creates more than one place or setting during a performance and does so without the use of scenery. The actor can communicate transformation of place to an audience through the context that they create for theperformance,andthroughtheuseofobjectsandspaceinsymbolicways.Transformationofplacecanbeachievedthroughthetransformationofproperties(realandimagined)and/orthroughtheuseofexpressiveskills alone.

Transformation of timePerformances can move around in time as well as in place. Sometimes performances can occur in a linear or chronological timeline. Others move backwards and forwards in time from a central point.

VaudevilleVaudeville is a form and style of theatre entertainment that was popular with the lower classes from the 1880suntilthe1930s.Itwasreferredtoas‘musichall’inBritainandconsistedofavarietyofbriefactsthatwere introduced by a master of ceremonies. The acts could include:• illustratedsong,dance,activestorytelling• comedy,slapstick,repartee,clowning• exaggeratedacting,acrobatics.


VCE Drama 2016Solo performance examination

STATEMENT OF INTENTION

Student number

Prescribed structure number Name of character (from prescribed structure)

Comment Use the space below to highlight aspects of your interpretation that you would like to bring to the assessors’ attention, for example:

• explanation/clarificationofdecisionsmadeinyourinterpretationoftheprescribedstructure • givereasonsforchoicesmade(forexample,foruseofcostume,properties,accent,symbol).

DO NOT SIMPLY REWRITE THE PERFORMANCE FOCUS. Thesecommentsshouldnotexceed100words.

Three copies of this completed form must be handed to the assessors on entering the examination room.

2016 drama solo performance examination (pdf - 356.93kb)

Documents